The Boondock Saints II: All Saint’s Day (2009)

It took Troy Duffy 10 years to make “The Boondock Saints II: All Saint’s Day,” a sequel to his 1999 fascist romp about two devout Christian brothers (Norman Reedus and Sean Patrick Flanery) doing God’s work. If God we’re a White Master Race sociopath hell-bent on mass murder.

Part 1 was repugnant, sexist and cruelly anti-gay, on top of being a poorly made rip-off off of Tarantino, Woo, Scorsese and Coppola. One would hope that Duffy matured during the past decade. He did not. This is the same piss-poor film, only more offensive. Hate Mexicans? You’ll love this.

Here the brothers are self-exiled in Ireland until the vile murder of a priest in Boston calls them back into action. The boys soon find themselves in cahoots with an FBI agent (Julie Benz), very much in line with Willem Dafoe’s self-loathing gay agent from film one, as they hunt and kill. Benz’s agent dresses in stiletto heels and high-dollar call girl outfits, when she’s not imagining herself as an Annie Oakley stripper.

Her first line: “I’m so smart, I make smart people feel retarded.” Benz outdoes Dafoe in trash acting with the worst Dixie accent I’ve ever heard. Her character is not so much a woman of power (FBI agent), but a cartoon written by a man who hates (fears?) strong females. Added screen treats: Several close-ups of a fat man’s ass after he shits his pink panties. How subtle. Duffy is an anvil to intelligence. His fans, fuck them.

The first film’s only redeeming asset was Reedus and Flanery. Not here. Reedus is listless, while Flanery looks like a strung out Meth addict barely able to stay awake. I still can't decide if Duffy is, in fact, a self-loathing homosexual or a full-blown hater, the Fred Phelps/Bull Connor of trash cinema. In both films Duffy has his brothers shower together, and the camera stares in slo-mo awe at their naked bodies as water runs down. You decide.

The final scene promises a Part III, as the brothers mock-shoot a group of black men. Stay classy, Duffy.There is not one redeeming person of color in this film, which must play constant at Klan rallies and Tea Parties, gun nuts crying, “Take our country back, ” with dreams of  popping off minorities. Rarely has a film ever made me so sick in the soul, so ashamed of having watched to the end credits. F